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누가 미술관을 지키는가



100 X 200cm

​인화지에 레이저 프린트, 아크릴 유리 뒤에 실리콘 라미네이션 

Who Guards the Museum, by TZUSOO, is a VR(Virtual Reality) Simulation, which brings you to some museums. In the specific work <Who Guards the Museum - Stadt Galerie Sindelfingen>, as wearing a VR glasses, you experience to visit Stadt Galerie Sindelfingen. The environment is definitely from a reality, but it is a newborn space by the artist at the same time.


While you walk around the museum, you meet guards(Aufsicht) working there, too. Their figures are also from reality.

Howerver, their figure is surrealistic - like art works it self. For example, one enormous guard is filling a whole room in the museum. The other one is like a interactive sculpture.

Museum is the place to show art works. But in her virtual museum, she shows who the guards are. The concept was inspired by the artist’s own experience, working in the museum as asian woman and she realised that in many museums in Stuttgart(Kunst Museum, Landes Museum, etc), most of guards are from all over the world including Germany and they are different ages, earn various wage.


Who guards the art in the museum? How much they are paid? What is contract condition? Where are they from? These questions drag us to the situation of modern society.

And the answers might provide a clue of what “Utopias in Urban Societies.” What is new form old city seeks? We could not help talking about internationalisation and new form of labour ship.


Coming back to the title Who Guards the Museum, it is giving a hint. “Museum” represents identity and history of each cities or region. It does not only exist, but inherit. Then thinking of who guards it, it could be a metaphor how the city is.


at the Galerie Stadt Sindelfingen, Germany




Johannes Hugo Stoll & 추수


장소 특정 VR 시뮬레이션 


음향 Johannes Hugo Stoll


In the Tombstone(2018), the artists let the user of VR glasses experience interactive sculptures placed virtually into the exhibition space-as a site specific art work.


Gazing directly towards these models through VR glasses, visitors will see classical sculptures - gray and stone lookalike objects. As soon as she or he turns away her/his head from the sculptures, the objects switch to a realistic photographic surface which provides clarity of where they root in.

Having used 3D modelling technics for private desires excessively as well as having used private life to practice 3D modelling technics vice versa, the artists bring both together and use the virtual space to conquer and enter the exhibition space e.g.Festung Franzenfeste Bolzano - an old and military fortress, a symbol to mark and maintain borders, or Kunst Akademy Stuttgart, depending on the exhibition spot.


While using the VR glasses, the user at the same time experiences her- or himself in order to act with the technical instrument stimulating her or his senses. A play in between the two modes of exhibition and exhibitionism starts, touching and questioning other confronting pairs such as Private and Public, Reality and Virtual Reality, Presentation and Representation, Cold and Warm, Invisible and Visible, Life and Death, all together merging in the project the Tombstone 

장소 특정형 설치 001

Kunst Akademie Stuttgart, Germany


장소 특정형 설치 002

Festung Franzenfeste Bolzano, Italy


장소 특정형 설치 003

Hansaplatz, Berlin, Germany


Bosch Piercing




video installation


Bosch Piercing(2018) is a part of the project ALPHA CENTAURI/II (METABOSCH), Künstlerhaus Stuttgart.






Alpha Centauri* is an experiment in two parts with students from the Royal Institute of Art, Stockholm and the State Academy of Fine Arts, Stuttgart.


The work is oriented around two levels of the Künstlerhaus, which have been repurposed as living spaces, ateliers, and an environment activated by, and defined through individual and collective making. In the period of living and working together, a total work has been produced, parsing out the conflicting dimensions of control/frame and out of control/unpredictability.


In this chapter of Alpha Centauri, developed in collaboration with Abel Auer, with Leon Dürnay, Janis Eckhardt, Juliane Gebhardt, Hyunjeong Ko, Evgenia Kosareva, Lea Lenk, Jaewon Park, TZUSOO and Helen Weber, the students continued with the setting and parameters developed by the first group. Through both responding to, and developing their own shared logic, the space was radically reconceived and new works were produced, others altered or removed. A core focus of the discussions and sessions held throughout this process were connections between the rooted and material, and its relations to the hidden, obscure and unknowable, explored from a series of perspectives. From ethnobotanist, author and lecturer Terence McKenna’s thinking around reality as hyper dimensional, to Paul Thek’s work with the material and the contingent, to questions of intention and attention in artistic making. Within the group, a shared speculative fiction took form, the notion of the ‘Metabosch’ – an unfolding set of associations moving between the phantasmagoric world-making of Hieronymus Bosch, to a narrative of a corporate and quasi spiritual brand, ‘the Metabosch’, and life within its paradigm. It is a concept, which as the setting materialised, also acquired darker, and at times apocalyptic undertones, looping back to associations between corporate culture, ecology and black holes.


Alpha Centauri is a project testing out the possibilities and limits of the institution as host, and the processes involved with generating an environment with material and intangible layers. And is in the process, focused on living with qualities of sociability, discord, and the transformative in the teaching and making of art.


The project was convened by Annika Eriksson (Royal Institute of Art, Stockholm) and Fatima Hellberg (Künstlerhaus Stuttgart)


*Alpha Centauri is the star system closest to the Solar System. Researchers have sought to verify the existence of an Earth like planet in the Alpha Centauri using transits – a slight dimming in the star as the planet passes by has been detected – but no additional, conclusive evidence.


Part I of Alpha Centauri was realized by: Maiken Buus Andersen, Izabel Färnstrand, Salad Hilowle, Sonia Sagan, Oscar Kaleva Karlsson, Vida Lavén, Mari Mattsson, Linnéa Ndangoya Palmcrantz, Emilie Palmelund, Levi Sebton and Jesper Vesterlund



Text Künstlerhaus Stuttgart

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